PINTURAS Y ESCULTURAS

19 de Noviembre 2009 al 7 de Enero 2010, Palacio de Bellas Artes

SANTO DOMINGO 

 

AQUEOUS

ABSTRACT

ART MIAMI

GAZZETTE REVIEW

BIOGRAPHY

DANIELLE DEGARIE

DOROTA KOZINSKA

DELIRIUMS OF

LÚDICA

LOWES MUSEUM

ERICK ALLEN

FERTILITY DANCES

GALLERY

marianne tolentino

NUDES

ORGANIC FORMS

SCOTT DUPERRON

STEPHEN D.KAPLAN

 
 
DOMINICAN ART
 

AQUEOUS PAINTINGS

FERNANDO UREÑA RIB

Scott Duperron
 

 

 

 

 

In the fluidity of Aqueous we capture the expressions of harmony of humanity with nature unto itself. Luminous underwater visions and organic forms become fused into a type of sensual celebration. Fernando Urena Rib's work over the years have become more and more captivating as he integrates and balances pigments and hues, combining movements with the seamless blending of multiple forms.

Fernando is in his own way, a feminist. Not in the contemporary social sense but in the earthy sense of one absorbed by feminine life forces. The forms and figures are feminine forms that arrest the viewer. There might be nude women floating gracefully about his canvases but there is absence of eroticism. The progressive attitude in art calls for transcendence of the obvious. Fernando's work's, be them graced with human organic forms are wonderful expressions of sensual delight that transcend blatant eroticism and expend into harmonic euphoria.

For over twenty years art collectors from major European and American cities highly appreciate and acquire Fernando Ureña Rib's works, which is an attestation of the quality and maestria of his art work. Every painting is in relation with life and as we all know, all life stems from water. Fernando's Aqueous series of oil paiontings is a magic depiction of the fluidity of existence and of the organic expressions of life.

Here we sense the throb of the "Tropic" (Title of another one of his shows) and it climatic effects on both man and nature.

The poetic texts that introduce his catalogues- poetry is the "Violin de Ingres" of the artist-, among the emotive phrases of anecdotes we find the hidden key to diverse combinations, organized and harmonious, always more committed to imaginary transmutations. In Tropic (April 1996) Ureña Rib says: "One begins to see the mirage, those reverberations of heat which now melt the images and convert them into a volatile, evanescent chromatic shape."

And later (Celajes, November 1996) "The river multiplied and divided the last colors of the afternoon and was converted into an enormous kaleidoscope of liquid and phosphorescent metals." While George Arzeno Brugal justly observed, more directly: " Simultaneously, many of his paintings take up once more the ancient theme of reflecting movement and the displacements of bodies in space."

Evidently the exquisiteness of color -inseparable from the quality of life and form-the synthesis of resonance's, contrasts, tonal subtleties, all converged powerfully into substantial optic repercussions. Jeanette Miller once wrote defensively that "The handling of color and of pictorial material prove secondary to his graphic abilities" (Historia de la Pintura Dominicana, 1979) . Yesterday the lifeline of Fernando Ureña Rib pictorial work was...the line; Today, the richness and delicacy of the palette determine in great measure the melodic line of his paintings. It is possible that the artist consciously or unconsciously could have said to himself: "They have repeated so often than I am a great draftsman-I am going to show them now I am also a great colorist." Further, the initial compositions in the series, dating from 1996, denote an unusual search, tending to "mute" the leaves and stems suggested by manufactured or other manmade objects. They insisted not only on tonal gradations but also on the unctuosity of the paste and on a three dimensionality achieved through chromatic emphasis.

We found then those two elements that are required for the domination of color: The intrinsic beauty of each shade and the harmony, which results from the combination of various colors, enriched by the subtle range of tones.

The common denominator was present in all of the canvases. Some of them in particular intensified the luminous elements, that it was converted into a fascinating resplendence. Although a luminous energy reigned supreme in this show, no fewer notables was the renewed research of form. This aspect of Fernando Ureña Rib's work can be classified as Abstract or neo abstraction, the morphological representative of the known and identifiable World yields to imaginary structures, and the accentuated study of form, color and light.

Transmutations of all kind (from carnal and floral to fruits and the mechanistic) inhabit the atmosphere, this Being either substantial or totally airy. On the bases of this magical iconography, we maintain our initial denomination that this is essentially fantastic and surrealistic.

Today "surrealism" is not equated with a disorganization of the conscious world, but rather with its profound reorganization according to the internal dictates of the Self and the free functioning of the inspiration. It is this reorganization, with its own laws of poetry and harmony that we perceive in the Underworld, Oceans and Apologies of Internal Song. ("Submundos", "Océanos" y "Apologías del Canto Interior")

Ten years later the roads have been covered, they have been widen and converted into a broad path well trod by work, in searching with success creative new routes. The works of Fernando Ureña Rib characterized by unity and metamorphoses, has the future spread out before it.

Scott Duperron
President of Attache Data-Link

 

 

 

 

If Fernando Ureña Rib looks very comfortable with his canvases, it is because he has been painting since a very early Age. Born in La Romana, Dominican Republic in 1951, This International artist began his Art training at 12, graduating with a degree of Professor of Art from the National School of Fine Arts in Santo Domingo in 1968, followed by Art Studies in Europe and the U.S.

Ureña Rib has seen his work exhibited around the World. He holds a prominent position on the Art scene in his own country since 1968. He is drawn to Montreal annually, where he rents a studio in the Belgo Building of the downtown area. There he immerses himself enthusiastically in the creative and diverse atmosphere of Montreal producing here his works.

The result of his latest prolific output is a series of paintings titled Carnavalia now on display at the Dominican Republic Tourist Board offices on Crescent Street. Ureña Rib creative flow is broken into two distinct currents, each powerful in its pull, but marked by different visual aesthetics.

Many years ago he drove the attention of Art critics with his sensual, organic, Abstract Paintings of unique and beautiful sensibility, blossoming against the backdrop of contemporary art galleries in a powerful explosion of color and form. However, Ureña Rib is primarily a lover of the human body, the female in particular, and the nude is recurring theme in his production. It is also the focus of his latest series, as the artist continues to explore the many facets of human anatomy.

¨I have been attracted to the female form since I can remember ¨ he said. " It is not just the female body. It is the interest in and the discovery of the possibilities of movement of the human body>"

In his canvas, nude female figures overlap in a continuous dance, the image fragmented by the folding of space and time, lines upon lines, a tangle of limbs and faces, a vibrating, shimmering mosaic of color planes. Basing his pictorial exploration on the Greek philosopher Heraclitus's assertion that all things are happening at the same time , he attempts to re create his seemingly impossible vision of simultaneousness.

The result is series of rhythmic figures, beautiful nude bodies of idealized women, serene beings of mythical rather than human proportions.

Nymphs inspire these stylized females, a symbol of the Forces of nature and the Feminine power.

"I want these paintings to symbolize the power of woman. Not just political power, but all the power they possess." said Ureña Rib. Not just political power, but all the power she possess. As in Tantric Buddhism, he is seeking the elusive mix between spirituality and sensuality. The idealization of the form - all figures in Ureña Rib are of perfect proportion- is aimed as pleasing the eye, and the models chosen for the portraits are invariably young and lithe.

Taking advantage of the proximity of several contemporary Dance studios housed in the Belgo building where he paints, Ureña Rib often uses dancers to pose for him, their muscular bodies perfectly suited to carry his visual message.

Adorned with colourful and fantastic headdresses, these women participate in a magical carnival. They appear in a variety of compositions: in groups of three or more, at times resembling the same figure in a kaleidoscope of movement, at other a gay crowd partaking of a sacred ceremony.

Renouncing contemporary Art's preoccupation with intellectual Angst- which he sees as the residue of post World War nerves- Ureña Rib aims to create beautiful, pleasing images. An excellent colorist, he constructs a rich surface, a pattern of overlapping colors in perfect visual harmony. "I do not thing there should be a divorce between Art an Beauty," he asserts. " In this century, the concept of beauty is seen as poisonous, but I think we are arriving at a point where that is going to be changed, soon.

 

 

 

 

AQUEOUS

ABSTRACT

ART MIAMI

GAZZETTE REVIEW

BIOGRAPHY

DANIELLE DEGARIE

DOROTA KOZINSKA

DELIRIUMS OF

LÚDICA

LOWES MUSEUM

ERICK ALLEN

FERTILITY DANCES

GALLERY

marianne tolentino

NUDES

ORGANIC FORMS

SCOTT DUPERRON

STEPHEN D.KAPLAN

 

 

FERNANDO URENA RIB

ART STUDIO

 

 

Orgánica

UREÑA RIB

Pintura Orgánica de Fernando Ureña Rib

PINTURAS Y ESCULTURAS RECIENTES

19 DE NOVIEMBRE 2009 - 7 DE ENERO 2010

PALACIO DE BELLAS ARTES, AVENIDA MÁXIMO GÓMEZ

SANTO DOMINGO,  REPÚBLICA DOMINICANA

CONTACT INFORMATION

 

 

Revisado: October 16, 2009
TODOS LOS DERECHOS RESERVADOS. ALL RIGHTS RESERVED
 

 

 

 

ORGÁNICA, LA NUEVA COLECCIÓN DE PINTURAS AL ÓLEO Y ESCULTURAS DE FERNANDO UREÑA RIB, EN EL PALACIO DE BELLAS ARTES DE SANTO DOMINGO, DESDE EL 19 DE NOVIEMBRE HASTA EL 7 DE ENERO INFO (809) 567 1564  & (809) 472 6386  URENARIB@GMAIL.COM

 
 
 
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